Project Report OAT- Pali.doc

OPEN AIR THEATER- PALI

OPEN AIR THEATER AT LAKOTIA
For Pali Town
Contents
Page
1.

Background of the Project.............................................................................................1
1.1. Focus area..................................................................................................................1
1.2. Objectives..................................................................................................................2
1.3. Coverage of the Cities................................................................................................2
1.4. Financing Pattern.......................................................................................................3

2.

Project Town....................................................................................................................4
2.1. Introduction................................................................................................................4
2.2. Climate ...................................................................................................................4
2.3. Physiography..............................................................................................................4
2.4. Geography..................................................................................................................4
2.5. Historical ...................................................................................................................5
2.6. Demography...............................................................................................................6
2.7. Population Projection of the Town.............................................................................7
2.8. Need of the Project.....................................................................................................8

3.

Theatre Design................................................................................................................9
3.1. Aspects of Theatre Design.........................................................................................9
3.2. The Nature of Theatre Design....................................................................................9
3.3. Theatre Forms..........................................................................................................10
3.4. The Goals of Theatre Design...................................................................................12
3.5. The Stage and Backstage.........................................................................................13
3.6. The House and Front of House................................................................................14
3.7. Project Site...............................................................................................................15

4.

Proposals and Recommendations................................................................................16
4.1. Methodology............................................................................................................16
4.2. Essential Design Factors..........................................................................................17
4.3. Schedule of Rates Considered in Estimates.............................................................18
4.4. Proposals .................................................................................................................18

5.

Community Participation.............................................................................................20

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5.1. Benefits of Community Participation......................................................................21
5.2. Community Participation in Efficient Management System...................................22
5.3. Sustainability of Community Participation..............................................................23
5.4. Factors favouring the sustainability of community participation............................23
5.5. Institutional Capacity Building................................................................................24
5.5.1.

Need for Accountability...........................................................................24

5.6. Information Education and Communication............................................................24
5.7. Public Education......................................................................................................24
5.7.1.

Group Education......................................................................................24

5.7.2.

Mass Education........................................................................................25

6.

Operation and Maintenance........................................................................................27

7.

Social Impact of Open Air Theatre..............................................................................28

8.

Cost Estimates...............................................................................................................30

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1.

Background of the Project

Government of India accorded sanction to the continuation of the Scheme of “Tagore Cultural
Complexes” from the XI Plan to XII Plan at an estimated cost of Rs. 80.00 crore. This is a
historic moment, that after 60 years; a scheme of this magnitude has been introduced by the
Ministry of Culture: its impact will be far reaching. It has an ambitious programme for long
neglected cities, to develop them as centres of excellence for promoting, preserving and
disseminating the rich cultural traditions of the country by creating new Cultural Complexes
in the country in the form of auditorium, rehearsal halls, training centres, green rooms etc. and
also for renovation / upgradation / modernization of existing complexes. The scheme called
Tagore Cultural Complexes Scheme could get a boost with an outlay of Rs. 15.00 crore for
our state. Therefore this project has been prepared under the guidelines for developing Open
Air Theatre at Lakotia Garden for Pali Town.

1.1.

Focus area

The focus area for assistance under the Tagore Cultural Complexes scheme includes:
The Scheme aims to create infrastructural facilities in the form of cultural spaces/complexes
crucial to foster and coordinate activities in the States/ UTs in different cultural fields like
music, drama, dance, literature, etc.
(I) Under the Scheme, financial assistance is granted for the following purposes:(i) Construction of new Cultural Complexes
(ii) Upgradation of existing Auditoria/Cultural Complexes
(iii) Completion of approved/ongoing MPCC Projects
Under (i) above, every project must include an auditorium, except in the case of district/
municipal complexes which may instead have a mini-auditorium or open-air amphitheatre or
improvised Manch. A TCC may ideally aim to have the following state-of-the-art facilities
and infrastructure:
a. An Auditorium (or a set of auditoria of varying capacities)
b. Rooms of varying capacities for seminars, conferences, workshops, etc.
c. Greenroom(s)/dressing room(s)/makeup room(s) for the performers, and a storage area.
d. Rehearsal hall(s) for theatre/ music/ dance.

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e. Training Centre/ school for theatre/ music/ dance,

1.2.

Objectives

The objectives of the Tagore Cultural Complexes scheme are :
Through the scheme of Tagore Cultural Complexes, we are creating the infrastructure for
nurturing our national performing talent. Our job is to ensure that this is done in the best
possible way to serve the performing arts and theatre at its core. If this scheme works
effectively, it will impact on the entire eco-system of performing arts in the country that will
have long lasting effects on developing the value of theatre and performing arts, thereby
contributing enormously to the cultural fabric of our country.
1. The revisited version of Scheme known as ‘Tagore Cultural Complexes’ Scheme will
continue to foster and coordinate activities in the States/ UTs in different cultural fields
such as music, drama, dance, literature, fine arts, etc. and promote through them the
cultural unity of the country and provide avenues for creative expression and learning to
the younger generation.
2. These cultural complexes will work as centres of excellence in all forms of art and culture,
with facilities and infrastructure for stage performances (dance, drama and music),
exhibitions, seminars, literary activities, film shows, etc. They are intended, therefore, to
go beyond the original Tagore Auditorium scheme and foster a multi-dimensional interest
in creativity and cultural expressions.

1.3.

Coverage of the Cities

Selection of the Project
Following Organizations will be eligible under the Scheme:
(i) State Governments/ UT Administrations;
(ii) Bodies set up or sponsored by State Governments/ UT Administrations;
(iii) Bodies set up or sponsored by the Central Government or organizations under it;
(iv) Universities, Municipal Corporations and other Government approved agencies; and
(v) Reputed not-for-profit Organizations.

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1.4.

Financing Pattern

Financial assistance under the Scheme for any project will be normally upto a maximum of
Rs. 15 crore in two installments in the ratio 50:50. In extremely rare cases, of outstanding
merit and relevance, the financial assistance can go upto Rs. 50 crore, subject to necessary
appraisal/approval mechanism prescribed for new Plan Schemes. Financial Assistance will be
released in consultation with integrated Finance. The quantum of financial assistance by
Government of India, Ministry of Culture is limited to 60% of the project cost of a nonrecurring nature. Recurring expenditure, if any, will be the responsibility of the grantee
Organization. The recipient State Govt. / UT or any grantee Organization will be required to
contribute 40% of the Project cost as matching share. Cost of land will not be included in the
matching share. The same will be required to be made available by the concerned State
Government, free of cost unless the Organisation has land of its ownership. 0.5% of project
cost may be released to the grantee organisation for preparation of Detailed Project Report
(DPR).

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2.Project Town
2.1.

Introduction

Pali town popularly known as "Pali Marwar" is located in the south-western part of Rajasthan
at the intersection of 25o47'N latitude and 73o20'E on the right bank of Bandi river at a
distance of about 75 kms south east of Jodhpur and about 300 kms south of Jaipur. It lies at an
elevation of 212 meters above mean sea level. Pali is also a railway station on JodhpurMarwar section of Northern railway. Jodhpur is the nearest airport.

2.2.

Climate

The climate of Pali is dry and hot with humid condition during rainy season from July to
September. It has an average annual rainfall of 412mm. The summer is hot and dry with
average daily maximum temperature of 40oC and average daily minimum temperature of
27oC. During the winter average daily maximum temperature is 25 oC and minimum is 10oC.
The humidity conditions also vary with the temperature and rainfall. Thus in April and May
the humidity is 30 to 40%, but during rainy season it is 70 to 80% and in winter it is 50 to
60%.

2.3.

Physiography

The site on which the town stands is comparatively high ground like mound between the river
in the south and shallow depression in the north and east. These depressions appear to be the
old time river beds of Bandi river, which might have changed its course. However, this site
provided the natural defence for the town and also the presence of river enhanced its religious
significance.
2.4.

Geography

The soil strata of Pali town in general consists of
Loose sand

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0 - 4 meters

Hard soil mixed with boulders

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4 – 10 meters

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2.5.

Historical

Pali, the industrial town of Marwar region has ancient origin but a modern look. The history
of its growth dates back to 10 Century A.D. when it was a place of learning and pilgrimage of
Jain and Hindu religion. The temple of Parshwanath is said to be as old as 10 th Century A.D.,
which was earlier a Mahavira temple and idol of Parshwanath was placed there in 12 th
Century A.D.. It was also visited by number of Jain Saints. Along with Jain the Hindu religion
was well established in Pali. The famous Somnath temple belong to 10 th Century A.D. The
inscription dated 1152 A.D. refer it to the region of Kumarpole. To the north-east of the town
is the temple of Pateleswar Mahadeo which is the oldest temple of town belonging to 8 th
Century A.D. The Pallivals, both Jain and Hindu are said to be originated from Pali.
Earlier, Pali, was held by the Brahman Community in grant from the Parmars and Rajput
chiefs till it was completely over-powered by Rao Shia, the founder of Rathore dynasty in
Marwar in 12th Century A.D. Due to religious significance, the old development of town was
mainly near the temple along the roads leading to them. Thus the old town has a compact
development with narrow streets bordered by high buildings. The compactness was also due
to limitations on its physical growth in south by Bandi river and in north-east by Loharia
Tank. Besides its religious character, it was also an important centre of trade and commerce in
the past.
The railway line was introduced in the town in 1882-85, which encouraged some
development in the north near railway station. No significant development took place in Pali
till the year 1941, when Seth Mani Ram Bangur established Shri Umed Mill. The
establishment of this mil brought a new life for the people, providing direct and indirect
benefits. While it provided employment to thousands of workers, it also encouraged other
economic activities in the town, like trade and commerce, transportation etc. A number of
other infrastructural facilities like hospital, higher secondary school, college. Water works,
electricity etc. were provided in the town. The growth of Pali was future enhanced after the
construction of Jawai dam project in the year 1958 which increased the agricultural output in
the hinterland. With the conversion of Meter gauge to Broad gauge, Pali town is now
connected with important towns of State and outside State.

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The most significant aspect of development in Pali town was the growth of cotton textile
printing and dying industries, which had made this town full of life and prosperity in
economic development. A number of industrial areas have developed in Pali to house this
industry. The new residential colonies have also developed. The housing board has also
constructed houses here. A new grain mandi has been established. Thus the old town of Pali
with an area of about 250 acres has now grown to the size of about 3900 acres during the last
67 years.

2.6.

Demography

Pali, which was a small urban settlement of about 20,000 persons at the time of independence,
is presently a city of about 2.20 lac population. It has been constantly growing at a very fast
rate. During the decade 1971-81, it registered the highest growth (83.74%) in the whole of
Rajasthan. It has become a very important centre for textile dying and printing.
The growth of town was almost stagnant, rather the population declined from 1901 to 1941,
due to severe calamities like famine, flood, epidemics and also lack of proper infrastructure
facilities in the town. But the period 1941-81 is marked with faster growth rate due to number
of economic development activities such as establishment of Umed Mill (Year 1941),
construction of Jawai Dam (Year 1958), establishment of industrial units (Particularly textile
dying and printing) and mandi etc. Number of displaced persons also settled in Pali during
1941-51 decade and the areas like Sindhi Colony developed to house these persons. Due to all
these developments, the population of Pali town has grown from 12,356 in 1941 to 2,30,055
in the year 2011 i.e. about 20 times in 7 decades. During last 20 years industrial and
commercial development took place with a rapid pace. Due to establishment of Government
and Semi Government offices, employment opportunities has increased. More over this has
become an important centre in the transport sector because of its being District Headquarter.
Transport Nagar has been established on Sojat Road near "Naya Gaon". The following table
shows the trends in growth since 1901.

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Table 2-1 : Population Growth Trends Pali Town 1951-2011
Year

Population

Decade Difference

Percentage Decadal
Growth Rate

1901

12673

-

-

1911

12939

+266

+2.10

1921

10129

-2810

-21.72

1931

10974

+845

+8.34

1941

12356

+1382

+12.59

1951

24100

+11744

+95.05

1961

33303

+9203

+38.19

1971

49834

+16531

+49.64

1981

91568

+41734

+83.74

1991

136842

+45274

+49.44

2001

187641

+50799

+37.12

2011
230055
Source: Census of India and estimate

+42414

+22.60

2.7.

Population Projection of the Town

In the Master Plan prepared for year 1980-2001, decadal population growth of 62.06% has
been envisaged in the decade 1981-91 and of 49% in the decade 1991-2001, where as, as per
census figures the actual growth has been 49.44% and 37.12% respectively. In the Master
Plan prepared for year 1997-2023, decadal growth for the decades 2001-11, 2011-21 and
2021-31 has been envisaged as 25%, 23.11% and 23.50% respectively as detailed below:
Table 2-2 : Estimated Population during 2011 – 2040
Year

Population Projections as per
Master Plan (2001-2023)

Projected Decadal
Growth

2001

1,80,000

37.87

(Actual as per Census 187641)
2011

2,25,000

25.00

(Actual as per Census 230055)
2021

2,77,000

23.11

2023

2,90,000

23.46

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2.8.

Need of the Project

As has been mentioned above, the focus area under the scheme includes the objective of
improving the quality of life of our young people by making them sensitive to what is
aesthetically and morally good in the society and exposing them to the finest forms of creative
action. Under the scheme, Open Air Theatre will be set up in the Lakotia Garden, heart of the
Pali Town. This OAT will set up fostering activities and coordination in various cultural
fields, such as music, dance, drama, literature, fine arts, etc. The big gap in the art-related
infrastructure in the country will be bridged through injection of due funding through this
Scheme which effort is directly connected with the propagation and promotion of performing
arts, in particular and art and culture in general.
Thus this project is formulated to provide cultural facility under Government of India's
programme.

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3.
3.1.

Theatre Design

Aspects of Theatre Design

Theatre design, the art and technique of designing and building a space—a theatre—intended
primarily for the performance of drama and its allied arts by live performers who are
physically present in front of a live audience. A theatre can take different forms. Two terms—
theatre design and theatre architecture—largely interchangeably. Both are intended to describe
a discipline that creates and shapes the space known, broadly, as a theatre.

3.2.

The Nature of Theatre Design

As an art form, theatre does not require a purposefully designed building in which to be
presented. But when audiences gather regularly to experience a performance, attempts are
generally made to organize the space in order to improve on the nature of the experience the
audience can have, and this is the beginning of theatre design. The simplest theatres are
cleared areas of ground around which people can stand or sit to view a performance. Theatre
design, however, is concerned with elaborating such space—first, to provide the optimum
conditions for the audience to experience a theatre performance and, second, to aid the
performers in achieving the fullest expression of their art.
The practice of theatre design can encompass open-air spaces or spaces that are fully
enclosed. It can involve a temporary structure put up only on certain occasions or a complete
stand-alone permanent building. It can include purpose-built areas within larger complexes or
the modification of buildings originally built for other purposes. Because they are well
designed for the gathering of a group of people and generally allow for controlled access,
theatres tend to be used as multipurpose buildings that can provide assembly space for
lectures, meetings, concerts, films, performance art, circuses, and even certain types of
sporting events. But at its most basic level, a theatre provides a space for the performers to
enact their performance and a space for the audience to experience that enactment. The space
used for performance is most often referred to by the word stage in English. The space
occupied by the audience is referred to by a variety of terms, of which auditorium (literally,
“hearing place”) may be the most common. House is the most generic term used to refer to

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the audience’s space, in that it focuses attention on the experience that can be had by the
audience without favouring any one aspect of that experience.
3.3.

Theatre Forms

Every theatre is unique, but, with few exceptions, theatres, both Western and Asian, can be
categorized into four basic forms:
1. Arena Stage Theatres (Also referred to as Theatre-In-The-Round);
2. Thrust Stage (or Open Stage) Theatres;
3. End Stage Theatres (of which Proscenium Theatres are a subset); and
4. Flexible stage theatres, also sometimes called black box theatres.
The design of all these types is based on the relationship the space establishes between the
stage and the house.
1. Arena theatres are those that have an audience around four sides of the stage. These
are often called amphitheatres, island stage theatres, or centre stage theatres, or they
are referred to generally as theatre-in-the-round (although the stages can be round,
oval, octagonal, square, rectangular, or in a variety of irregular shapes). Arena stages
are thought to create a strong sense of community among the audience members and
an easy flow of energy between the audience and the actors. They do, however, put
major restrictions on the amount and kind of visual spectacle that can be provided for
a performance, because scenery more than a few feet tall will block the views the
audience members have of the action taking place onstage. In these theatres, scenechanging equipment must be limited primarily to that which can be put under the
stage, and special effects are difficult to manage because so little can be hidden from
the audience. Arena theatres also complicate the management of the movement pattern
for actors (the “blocking”), as they must perform to all sides of the stage without
having their backs to any one side for too long a time and without preventing one part
of the audience from seeing other actors.
2. Thrust stage theatres are those in which the stage thrusts out from one side of the
space into the midst of the audience. They are also known as open stage theatres and
sometimes as courtyard theatres. The audience is most often located around three
sides of a thrust stage, though they can be located on two sides opposite each other (as
they are in alley stage or transverse stage theatres, sometimes called centre stage
theatres) or on two adjoining sides (as they are in L-shaped theatres). Thrust stages are
most commonly trapezoidal, semicircular, rectangular, or square. In both arena and

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thrust stage theatres, some members of the audience will be looking at other members
of the audience across the stage, where they will appear as the background to the
performance. Thrust stage theatres are therefore thought to share many of the
community-building advantages of arena stages. They also make managing the
movement patterns of the actors and displaying and changing the scenery less difficult
because there is always at least one side of the stage that is not occupied by the
audience. Often, arena theatres are designed for easy conversion into thrust stage
theatres by way of the removal of one section of audience seating.
3. End stage theatres are those that have an audience on only one side. Such stages are
most often rectangular or square, but they can be triangular (in which case they are
called corner stage theatres) or take a variety of irregular shapes that can include side
stages (in which case they are referred to as extended stage theatres). End stages are
thought to focus the full attention of the audience onto the production. End stages also
simplify blocking, allowing actors’ movement patterns to be more easily composed
into aesthetically appropriate shapes, and they greatly simplify the display of scenery
and special effects. The house of an end stage theatre can be rectangular or take the
shape of a fan, leaving all members of the audience facing the same direction. But the
house can also be shaped like a bell or a horseshoe or can be semicircular or square
and arranged so that some members of the audience can still look across the space at
other members of the audience. The significant difference between this form and the
arena or thrust stage forms, however, is that in end stages almost all members of the
audience must look away from the stage to see their fellow audience members. They
therefore do not appear as a background to the performance. For this reason end stage
theatres are thought to be less conducive than the other forms to building a sense of
community within an audience. End stage theatres may have movable ceiling and
walls that can be adjusted to increase or decrease the seating capacity in the house.
Some thrust stage theatres can be used as end stage theatres by blocking off the
audience’s space on all but one side.
4. Flexible stage theatres are those that do not establish a fixed relationship between the
stage and the house. Also known as black box theatres, laboratory theatres,
modular theatres, multiform theatres, free form theatres, or environmental theatres,
they can be reconfigured for each performance. They can be put into any of the
standard theatre forms or any of the variations of those. They can be made into

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“surround theatres” (which are sometimes called “total theatres” or “theatre-allaround”), in which the audience sits or stands in the centre and the stage surrounds it
on four sides. They can also be made into “promenade” spaces in which the audience
follows the actors around to different locations within the space.

3.4.

The Goals of Theatre Design

Theatre design is primarily concerned with enhancing the experience the audience can have at
a performance. The specific architectural elements considered ideal for improving that
experience will differ from culture to culture and sometimes even between subcultures within
a given culture, but they can still be divided into two general categories: those that serve the
aesthetics deemed appropriate for the art of theatre in a given culture, and those that optimize
the experience of that art for the audience.
Those elements that serve the aesthetics of the art of theatre can involve everything from what
the performers need to reach the artistic standards deemed proper before a performance starts
to what they need to support the required amount of spectacle during performance, whether it
be a bare stage or a stage with enormous movable sets and a spectacular array of props.
The elements that are most often discussed in terms of optimizing the experience had by the
audience, by contrast, revolve around audience comfort. It must be recognized, however, that
not all designers of theatres see comfort as a prime value. It is often thought that some
discomfort assists in keeping audience energy high. It is also true that comfort is a relative
term. In one culture it might mean a mud-free surface on which to stand; in another it might
suggest large soft seats with much legroom and precise temperature control. Comfort in a
theatre also has both physical and social components. Physical comfort involves the nature of
the seating or standing area, the amount of space allotted to each audience member, and the
ease of access to the space. Physical comfort also includes the ability of all audience members
to see and hear a performance in the manner that their culture has taught them is most
desirable for the proper experience of theatre. It also includes the maintenance of a certain
level of safety. Social comfort, on the other hand, has to do with each audience member’s
ability to feel like part of a group at a theatre event. Among the factors that are generally
considered when it comes to social comfort is whether the arrangement of the audience within

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the house reflects the accepted social order within the culture. Theatre audiences have been
organized by class, caste, gender, and occupation as well as by combinations of these and
many other factors, depending on the emphasis put on such divisions within a culture. While
it is often argued that such architectural organization involves the segregation of those who
are judged to be somehow less desirable, it is also true that it keeps audience members within
the social groups with which they feel the most comfortable. The location of the theatre
within a town or city is also a factor in social comfort, as the expected audience must feel that
it is proper for them to be in the area. The level of decoration of the theatre can also be a
factor in social comfort, as it can make the audience feel that the art being presented is above
or beneath their social level.
The precise nature of each architectural element and the exact combination of elements found
in any given theatre will be determined by the ability of a theatre’s architect to understand and
give expression to what the culture or subculture believes to be ideal. Whatever the abilities of
the architect, however, that expression of the ideal will always be compromised by the
availability of resources. In order to conserve resources, some elements will be left out while
others will be provided at less than an optimum level. Matters of comfort, however that term
might be defined, will be applied to only as many members of the audience as is practical
rather than to all of the members equally.
3.5.

The Stage and Backstage

Those elements of the design of a theatre that serve primarily the aesthetics of theatre
performance are the stage and the stage support facilities, often referred to as backstage
spaces (though the spaces will not necessarily be behind the stage or even in the same
building as the stage). A stage, regardless of the form of the theatre, can be a cleared space on
the ground or a simple raised platform. But a stage can also be a remarkably complex machine
with areas for scene-changing equipment, such as wing space (at the sides of a stage), trap
rooms (below a stage), fly spaces (above a stage), and rear stages (at the back of the stage), all
of which also allow for multiple entrances and exits for the actors. A stage can contain
revolves (turntables) and tracks for the movement of scenery and actors, and it can provide a
variety of crossover spaces that allow the actors to exit the stage at one point and enter it at
another. It can also be built on multiple levels. Backstage spaces can include dressing rooms,
green rooms (actors’ lounges), and rehearsal rooms. They can also include production services

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such as design studios; shops for building costumes, scenery, and stage properties; paint
shops; electric shops; wig shops; hat shops; laundry facilities; storage areas; loading docks;
and stage door security stations. Finally, they can include areas within the house, from
positions for the hanging of lighting equipment and speaker systems to control rooms for
stage lighting, sound, and special effects. A space for musicians to play music before, during,
and after a performance is also part of the stage-support facilities in most theatres. While this
space can be located among the backstage areas, it is more often onstage or in the house near
the stage.

3.6.

The House and Front of House

Those elements of a theatre’s design that serve primarily to optimize the experience of the
audience are the house and the audience support facilities, which are generally referred to as
“front-of-house” facilities (though, as with the word backstage, front of house does not
necessarily indicate an actual physical location within a theatre building). Ensuring that as
many members of the audience as is practical can see the stage well seems always to have
been a priority in the design of theatres. In the house, whether the theatre is an arena, a thrust,
or an end stage theatre or a flexible one, the surface on which the audience sits (or stands)
normally rises in elevation as it moves away from the stage so that audience members can see
more easily over those in front of them. Because the ability of members of the audience to see
well is also influenced by the distance they are from the stage, many theatre designs try to
maximize proximity to the stage by stacking sections of the audience one above the other,
either in galleries supported by posts or in balconies cantilevered out from the walls. In some
historic periods, this proximity to the stage was the only architectural feature that made it
possible for the audience to hear easily. In other periods, however, theatre architects focused
much of their attention on the acoustical design of the house so as to ensure that as many
members of the audience as possible could hear every word emanating from the stage.
Audience safety has usually involved ensuring that audience members can exit a theatre
quickly in the event of fire or other emergency. It has also involved efforts to make the theatre
building in general, and the house specifically, as fire-resistant (and as earthquake-resistant)
as possible. Indeed, part of the success of proscenium theatres has been that the stage area,

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where fires are most likely to start, can be sealed off from the house through the use of a fire
curtain that closes the arch.
The front-of-house facilities provide for the needs of the audience before, during, and after a
performance. Those needs include everything from the manner in which audience members
get information about a performance to the manner in which they access transportation when
the performance ends. Front-of-house facilities can include entrances and exits to the
building, lobbies, grand staircases, ticket offices, refreshment areas, gift shops, cloak rooms,
and restrooms. They can also include facilities for heating, ventilation, and air conditioning
and for cleaning and maintaining the structure, as well as the vast array of offices necessary
for running a theatre business. A great deal of attention is paid to the decoration of the house,
of those front-of-house facilities that are seen by the audience, and of the exteriors of the
theatre building. Such decoration can be anything from spectacularly grand to remarkably
plain. In each instance, however, the decoration reflects an architect’s interpretation of what
the culture or subculture assumes to be appropriately inviting to the audience and what will
put the audience in the most receptive mood for the type of performance they will be
experiencing in the theatre.
The location of a theatre building within a geographical area is often dictated by the
availability of land or by economic factors. But when several options are available for
locating a theatre, both aesthetic issues and issues associated with the audience’s comfort will
be taken into account. Some cultures have required that theatres be built within a beautiful
natural setting, whereas others have restricted them to certain sections of an urban or suburban
environment. Still others have made theatres focal points of their urban planning.

3.7.

Project Site

Considering the above guidelines and the Pali town the site at Lakotia garden in front of Rang
Manch was found best suited. The approach and surrounding Lakotia city tank will create a
tremendous environment for cultural events. The parking site is already available adjacent to
road. The place already used for cultural activities by different agencies, and afterwards
comfort level to audience will enhance.

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4. Proposals and Recommendations
4.1.

Methodology

The methodology for preparation of detailed engineering of the project is broadly described
below.


Survey and investigations



Site selection and finalisation.



Planning and designing OAT.



Estimation of quantities and Cost calculation.

A number of alternative sites were explored in the search for a better and more effective
model that prioritises the community. Among these, the site selected at Lakotia garden proved
to be best suitable as centre place of the town. Here more people centred as compared to other
places for recreational activities. Participation has now become an established orthodoxy in
theatre and development thinking and practice. The study also examined the monitoring and
evaluation process and how participation will be framed in and through live performance. The
community participation in theatre for development interventions takes on different forms at
different stages of the project cycle, resulting in participation being handled differently at
various stages. Major emphasis is also placed on the constraints, limitations and potential
risks related to various aspects of community participation.
Several factors have contributed to an increasing recognition of the need to address social
aspects of development. First is the accumulating evidence about the effects that beneficiary
participation in project design and management have on the efficiency of implementation,
cost recovery and project sustainability. Second is the limited capacity of national and local
government agencies to manage effectively the increasing number of development projects
and programs. Third is the belief that development planners have a moral obligation to "listen
to the people," both to understand their needs and to assess how their lives are actually being
affected by donor sponsored projects and policies. A final factor is the concern over gender
issues.

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4.2.

Essential Design Factors

The following points should be observed in the design of the open-air theatre:


The site should be away from industrial or community noise.



The noise level on the site should not exceed 40 db and occasional disturbance
exceeding this value should not occur more than once in an hour.



The theatre should preferably be constructed in sound shadow cast by hill, an
embankment across any noisy zones.



The prevailing wind direction should not be from the noisy zone towards the theatre
but away from it.



Tall trees must form the rear boundary of the theatre as they are very useful in
absorbing external noise and preventing delayed sound reflections inside the theatre
which otherwise cause echoes. Plus they also lend a nice landscape to the theatre.



The floor should be properly graded, to give good visibility and audibility to all the
rows of the listeners



The slope of the floor should be towards the stage and it should be about 12 to 15
degrees to the horizontal.



The shape of the theatre should be such that most of the audience is drawn close to the
stage.



A semicircular shape admirably satisfies this condition but it does not suited to the
directional properties of the sound.



To have satisfactory sound levels at all the places a fan shape theatre is considered
good, particularly when the stage walls and proscenium reinforcement cause the sound
levels at the remote places by reflection.



The direction of the prevailing winds must be from the stage towards the audience



The stage walls and ceilings must be designed to obtain maximum throw and diffusion
of sound towards remote places.



The back wall of the stage must be vertical, with plane or convex corrugation for the
reflection.



The sidewalls should be splayed outwards to avoid fluttering of sound and to obtain
beneficial reflection.



The sound level distribution may be estimated by the method of images.

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

The sound intensity drops off as the inverse square of the distance. The side walls are
also provide with corrugations. The stage ceiling should slope upwards so as to arrest
and throw the outgoing sound onto the audience.



The capacity of the open-air theatre should not exceed about 600 persons if they are to
hear clearly and the performers are to speak without strain.



However with adequate sound amplification the theatre may accommodate about 2000
persons.



The area of the theatre excluding the stage may be calculated at the rate of 0.8 to 1.0
sqm per person, including gangways.



If the seats are so staggered that every seat is displaced sideways from one in front by
half the width of the seat, the area provided should be about 1 to 1.20 sqm per person.



Sound absorption by the audience, unoccupied seats and the air must be taken into
account into the design.



Factors such as humidity, temperature, fog and the wind velocity, which affect the
sound transmission, must be considered.

4.3.

Schedule of Rates Considered in Estimates

This Project includes the cost estimates for construction of Open Air Theatre. The rates for
estimates are as per RUIDP ISOR 2013.
4.4.

Proposals

In this project it is proposed to construct an open air theatre of seating capacity of 576 to fulfil
the cultural demand of the town and surrounding area. The estimated cost is Rs. 104.52 Lacs.
The Salient features of the project are as follows:SALIENT FEATURES

Location

Lakotia Garden at Pali (Raj)

Population

2, 30,055 (Census 2011)

Calculation of Seating Capacity
1 Centre Portion

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Arc Length - lower step
Arc Length - upper step
width - Average of both
no. of person in one row

12.9
28.2
20.55
32

mtr
mtr
mtr

2 Side Portion
Arc Length - lower step
Arc Length - upper step
width - Average of both
no. of person in one row

11.2
15.7
13.45
20

mtr
mtr

3 So total person in one row
no. of steps
So total capacity

72
8
576

Area Detail
total area proposed

60 X 31.4
1884

sqm
sqm

10
5
47.12

mtr
mtr
sqm

7.2

mtr

stage - elliptical
major axis
minor axis

Depth of steps

Column proposed @ spacing 0f 3.0 mtr of dia 0.3 m
Jodhpur sand stone steps white and red in alternate has been proposed over RCC flight

Project implementation period

1 Years

Cost of Project:

Rs. 104.52 Lacs

Funding Agency

Central Government 60% - 62.71 Lacs
State Government
& Local Body

40% - 41.81 Lacs

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5.

Community Participation

Many local bodies in Rajasthan suffer from lack of financial, technical and human resources
and are therefore not capable or willing to deliver and maintain urban basic services. Low
income group areas particularly lack water supply, sanitation, electricity, solid waste
collection etc. Many measures, initiated by the community as well as by external agencies,
have been set up to provide basic services. In the last decades it has been realized that
community participation is essential to maintain those services.
Theatre has for centuries been an important social phenomenon, playing a central role in
religion, ritual and social practices, as an art form and as a vehicle for passing on information
and traditions, as well as for expressing ideas. In recent years, theatre has started to play a role
in development and as a means of political expression. Thus Theatre has a great significance
as a means to freedom of expression
The concept of theatre has particular connotations due to its historical use for religious and
ritualistic purposes, as well as to celebrate social events. In the pre-colonial period, a
combination of activities, including poetry, myths, songs, dance, acting, wrestling and even
serving various dishes took place over a period of time, sometimes days or even weeks, in one
all-encompassing performance. Modern theatre, particularly popular theatre or theatre for
development has evolved from these traditional activities.
Theatre for development, a form of popular theatre, is often used by non-governmental
organizations (NGOs) or community based organizations (CBOs) to promote social goals.
They may, for example, sponsor, either alone or in partnership, theatre within a community as
an educational tool or to facilitate the participation of that community in a development
process. Community theatre also falls within the general category of popular theatre and
normally indicates that there has been a significant measure of community involvement in the
theatre process, as opposed, for example, to the entire process having been undertaken by
outside theatre professionals.
“Community participation is an active process by which the community influences the
direction and execution of a development project in order to enhance their well being in
terms of income, personal growth, self reliance or other values they cherish”

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Community participation can be seen as a process in which community members are involved
at different stages and degrees of intensity in the project cycle with the objective to build the
capacity of the community to maintain services created during the project after the facilitating
organisations have left. Thus, community participation plays an important role in the
sustainability of projects, which means that services set up by the project can eventually
function without external assistance and will have a long-term impact on the environment and
quality of life of the community.

5.1.

Benefits of Community Participation

Community participation has several benefits, which can be divided in benefits for the
community and benefits for the project. On one hand, community participation can be seen as
an end in itself and a way to strengthen the community. On the other hand, community
participation can be seen as a means to execute projects in a more efficient way
Possible benefits of community participation for projects are:


Improvement of project design and effectiveness. If the community is involved in the
design of the project, it is possible to integrate its needs and constraints in the
objectives of the project and in this way come to a more effective implementation.



Enhancement of the impact and sustainability of projects. Involving the community in
the project may increase local ownership of projects and enhance a sense of
responsibility for maintaining services provided by projects. These aspects are both
essential for the durability and continuity of projects



Improvement of project efficiency. Community participation may be used to enhance
the understanding and agreement of cost sharing (both financial and physical
contribution).



Furthermore, community participation can be used to prevent conflicts and to
stimulate cooperation and agreement between different actors. In this way delays in
project execution can be reduced and overall costs minimised

Possible benefits of participation for communities include:


Building local capacities and capabilities. Community participation may for instance
increase awareness of knowledge and capacities, may improve the ability to negotiate

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as equals with authorities and other stakeholders to promote common objectives, and
increase responsiveness to conflicts within the community.


Involvement in decision-making. Participation can ensure that the different needs and
problems of the community are integrated in the project’s objectives.



Empowerment. Community participation may give people the opportunity to devise
and initiate strategies to improve their situation

In order to obtain above-mentioned benefits of community participation,
Projects should:
-

Involve communities in the planning of the project

-

Involve communities in the implementation, operation and maintenance of the
project

-

Let the whole community share in the benefits of the project

-

Include the community's opinion in the evaluation and modification of the project.

It must be borne in mind that community participation depends on the degree of organization
of the community. When a community is not organised or is organised to small degree, this
can form an obstacle to participation Management of sewer system requires a more complex
form of organization, therefore, it is necessary to investigate whether a community is
organised or if it is possible to strengthen or set up an organisation.

5.2.

Community Participation in Efficient Management System

Since the members of a community have different roles, there are also various ways in which
they can participate in management system. At the individual level, residents are responsible
as users.
Apart from individual responsibility, people can be collectively responsible and this means
participation in more or less organised activities, like meetings, clean-up campaigns, and
awareness-raising activities.
A step further is actively participating in formulating the project, meaning participation in
meetings and expressing opinions and ideas about the objectives and activities of the project,

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OPEN AIR THEATER- PALI

and closely following the project and its progress. The highest level of community
participation is community management and this may entail becoming a member of
committees, being involved in controlling the project, being accountable to other community
members about decisions taken. Often community management is carried out by a smaller
group within the community, through for example a newly established committee or an
existing community-based organization.

5.3.

Sustainability of Community Participation

One of the preconditions for project to succeed is community participation. This means that
communities are viewed as partners to be involved in all phases of the project cycle (i.e.
identification, planning and preparation, implementation, monitoring and evaluation, and
transfer to local managers) and not just as passive beneficiaries for whom new services are set
up. However, community participation during the project does not imply that the community
will continue the services set up by the project after the facilitating organisations have left.
Nevertheless, there are certain factors that can enhance the sustainability of community
participation after project completion. This chapter makes an attempt to produce a list of
factors that can favour the continuity of community participation and hence of the various
activities initiated by the project.

5.4.
-

Factors favouring the sustainability of community participation
Communication strategies are essential to generate a broad-based understanding of
issues related with the system among community members on the one hand and
responsiveness of the stakeholders to the demands of the community on the other

-

Representative local leaders and CBOs can stimulate community participation and
ensure that community needs are taken into account

-

Women play a determining role and they form important channels of communication

-

Community initiatives and CBOs are less durable if they are not, at some point,
recognised and supported by the local authority

-

Financial and operational viability to make community services less dependent on
external support

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5.5.

5.5.1.

Institutional Capacity Building

Need for Accountability

The institutions that provide the service typically need to be restructured so that they are more
accountable and transparent to the residents and business establishments they serve.
5.6.

Information Education and Communication

For the successful implementation of any program involving public at large, it is essential to
spell out clearly and make them known the manner in which local body proposes to tackle the
problem.
The key to success of any public-education, awareness and motivation program is to provide
as many ways as possible for the public to interact, as promptly and conveniently as possible,
with policy-makers, to seek clarification of doubts, share ideas or give suggestions which are
constructively followed up. A telephone hot line or Post Box number for written
communications could be one of the ways to have inputs from members of the public. Polite,
responsive and dynamic persons who are well informed must attend the phone, interested in
the subject and available at all stated time.
5.7.

Public Education

The communication material developed should be utilised in public awareness programmes
through variety of approaches as under.

5.7.1.

Group Education

This may be done through:
a. Group Meetings in the community
b. Workshops
c. Exhibitions
d. Lecture series
e. Panel Discussions, etc.

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5.7.2.

Mass Education

This is very essential to cover the entire population as it is not possible to reach all the people
through group education programs.
Mass Education programs can be planned using following methods of communication.
(i) Use of Print Media
Advertisements may be given in a planned manner to educate the masses and local
newspapers can also be requested to insert the given messages at regular intervals. They
should also be encouraged to start a regular Suggestion Box from where good ideas can be
picked up by the local body.
(ii) Posters
Attractive posters with good photographs and messages with a very few words, readable from
a distance, should be prepared and displayed in various parts of the city where awareness
campaign is being taken up and regarding organisation of various camps.
(iii) Pamphlets
Pamphlets, hand bills can be printed giving instructions in very simple and understandable
language showing photographs in action and circulated in the community requesting public
participation.
(iv) Use of Hoarding
Special hoarding may be put at strategic locations in the city carrying messages seeking
public participation. Alternatively, all Municipal-licensed hoarding should have a space
reserved at the bottom for civic messages. Such messages should be developed and painted by
professional agencies. These hoarding should also carry the contact numbers etc.
(v) Use of School Children
Children are powerful communicators. Parents who do not listen to the advice of others often
take their children seriously. Children are idealistic and would like to change their world for
better. The ULB should hold regular meetings with principals, teachers and students to
explain the need for change, and the usefulness to society of new ways to manage the system.
Holding essay, debate or drawing and painting competitions on the subject and publicizing the
winning contestants can reinforce the message.
(vi) Resident Associations

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Resident associations can be very strong group to influence the policy making and
implementation agent.
(vii) Voluntary Organizations/NGO involvement
Many NGOs are committed to improve management practices in urban areas to protect the
environment, culture, art and have been very active in this field. They have also developed
good mass-communication skills and education programs for the public. Such NGOs may be
persuaded to actively support the new strategies adopted by the local body and associate in
public awareness campaigns. Those who wish to conduct programs for sections of the public
on the management strategies may be encouraged to do so and given necessary support.

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6. Operation and Maintenance
As far as operation and maintenance is concerned, history- past records are not good for
government / public properties. Physical infrastructure assets created in urban areas have
generally been languishing due to inadequate attention and/or improper O&M. This is very
common situation all over the country. To overcome this problem, Local available material
Jodhpur sand stone work which needs almost zero maintenance has been taken up in this
project. The steps and flooring will be by the stone red and white in colour. The Construction
project will be given with 5 year guarantee to the contractor. Rest municipal council took the
responsibility for regular O&M.

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7.

Social Impact of Open Air Theatre

Open Air theatre is accepted in the communities because it is participatory and cost effective.
It will be evolved into a very powerful medium because of the following factors:


Theatre depicts real life situations and characters with which people can easily
identify.



Theatre is uniquely able to create strong memories of the content it portrays,
regardless of level of education, literacy, social status or language differences.



Theatre is a live tool, which the audiences see and feel.



Theatre can communicate difficult and vital information to large audiences in a
simple, dynamic and credible manner.



Theatre offers entertainment at the same time as it communicates, making it a people
friendly medium.



Participatory theatre creates a forum for free expression, providing communities with
new and powerful methods of getting their messages across.



OAT will be an important tool for promoting freedom of expression. Many people will
find themselves, through this interactive and entertaining communication medium,
responding positively to exploring the issues that affect them without feeling inferior
about their problems. Community performances are usually conducted after thorough
groundwork and the artists perform plays that deal with the problems of that particular
community.



It is an effective medium because it draws from the experience of local communities
and offers the community alternative perspectives, along with paradigms that mirror
their own worldview.

People have come to appreciate it as part of the social and cultural framework in which they
operate. A number of groups have interactive plays which tend to elicit positive responses
from the target audiences.
'the opportunity to engage in creativity activity, to explore their own and others
motivations and to produce valued and admired objects. Hence they aid personal
development and may at times be said to be therapeutic. Some arts activities encourage

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co-operative working and thus develop social skills. Arts activities are particularly suited
to an 'adult education' approach in which participants make decisions and choices and
take responsibility for their actions and outcomes. In addition, arts activities offer
recreation and pleasure and the objects made may be sold or exchanged.’
The Social Impact of the Arts defines ‘impact’ as:
'a dynamic concept which pre-supposes a relationship of cause and effect. It can be
measured through the evaluation of the outcomes of particular actions, be that an
initiative, a set of initiatives forming a policy or set of policies which form a strategy.’
The Social Impact of the Arts:- It presented a working definition of the social impact of the
arts, which is described as being concerned with:
'those effects that go beyond the artifacts and the enactment of the event or
performance itself and have a continuing influence upon, and directly touch, people's
lives.'
According to this definition, the social impact of the arts are those effects which are sustained
beyond actual arts experiences, and have resonance with the life activities and processes of
individuals.

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8.

Cost Estimates

The total estimated cost of construction of Open Air Theatre at Lakotia Garden, Pali is Rs.
104.52 Lacs. The cost estimate includes

Stage



Seating Steps



Toilet Block



Green room



Pathway



Electrification Heritage look



Provision of Sound system

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